On Agents, Proposals, and More...

I've got a backlog of questions from readers, so I'm going to try and answer several people today...

Holly wrote to say, "I have a non-fiction book contract and an agent who only represents non-fiction. Since I also want to write fiction, do I need another agent? Is there a way to leverage my current situation to increase my odds of getting a good publisher for my novel?"

Some agents only represent non-fiction projects (and some only fiction projects, or children's projects, or whatever). So yes, the possibility exists that you may need a different agent for your novel. If you're happy with your NF agent and getting good service from him or her, then I'd simply approach the agent and say, "I'm planning to write a novel. Do you want to represent it? And if not, can you put me in touch with an agent you trust to represent it?" That keeps everything out in the open, and allows you to talk career management with your agent. As for leveraging your current publishing relationship, I'd suggest you find out if your current publisher does novels. If so, talk with your editor. Explain what you'd like to try and write. However, be aware of the fact that nearly every writer wants to do a novel, AND that a non-fiction audience can't be expected to follow you across the aisle in order to read your fiction. So by going to fiction, you're really starting over in your publishing career.

Kevin wrote and asked, "Is it really possible to market yourself as a novelist?"

I definitely think it's possible for a novelist to market himself or herself. Over the past year, I've tried to share some thoughts on how novelists can market themselves, so you may find it helpful to meander back through my posts in order to look for ideas. But here's the big picture: In my opinion, a novelist has to begin seeing herself not just as an artist (which you most certainly are), but also as a brand name or commodity that deserves marketing. And that means creating a well-thought-out plan for marketing yourself and your work. (Okay, I'll admit that part of me hates writing that. I don't like talking about words as "commodities," and treating the writing arts as though they were cans of corn. But let's face facts -- I'm talking with writers who want to make a living writing, and that translates to selling books.)

Non-fiction writers find it easier to do some basic marketing, since they have a topic or hot-button issue that is clearly discernable. If you were to write a book on losing weight or making money or raising kids, the potential audience for such a topic is easy to recognize. You can go onto radio programs and talk about the problem and the solutions you're offering, or write articles for magazines and e-zines that explore your particular approach to the issue. With fiction, it's tougher. Good stories are not about one topic, but explore numerous threads. And no radio or TV program wants to invite you on to re-tell your novel. So instead of focusing on the story, most fiction writers find they have to focus on the author or the genre. In other words, you and your voice becomes the focus of your marketing. This is why it's essential that a novelist has a clear style. Think of the marketing of successful novelists -- it's not always the story that is the focus, but the fact that there is another great book from John Grisham or Elizabeth George or Janet Evanovich. (Sometimes the focus is a bit more on the genre -- the publisher wants readers to know this is an Amish story, or a techno-thriller, or a cross-cultural adventure story. But that's much less frequent.) Looking at today's market, what's the lesson? Discover your voice. Write a great novel. Market yourself hard.

Kris wrote to say, "I read the sample proposals you keep on your MacGregor Literary site. I found them helpful (and can't wait to read Sandra Glahn's novel), but as an unpublished novelist, it made me wonder... What should I be doing to to pre-market myself?"

I don't think a new novelist is going to do much different from the work of a mid-list novelist when it comes to marketing. Make sure you know how to write exceptionally well, then figure out a plan and work hard at it. That means getting your name out there. Make sure you have a following of readers. Try to let as many people as possible know about your forthcoming book. Work to be successful locally, then try to find success regionally, then nationally. Participate in every possible marketing avenue you can afford. I've already noted that there is a day coming in which a novelist is going to have a hit by selling his or her books via the internet -- it's bound to happen, since the internet can be so personal. So be thinking of ways to maximize your exposure.

There has been a movement afoot among authors to "brand" themselves, but that's something I think is overdone among newbies. A "brand" occurs over time when customers have a series of positive impressions about a person or product. I think it's very, very tough for an unpublished novelist to establish a brand, since the potential readership has no context for establishing those types of impressions with an unknown author. (I'll have to blog about branding sometime soon.)

Nancy wrote and said, "I noticed  on your sample proposals that the authors have an extensive list of contacts. How necessary is this type of a list in a proposal, and what qualifies as a contact? If I interview an editor on my blog, does that qualify?"

If you maintain a relationship with the editor, then yes, I'd say it probably qualifies. Those authors listed contacts who are influencers -- people who would be on the publisher's "big mouth" list (a list your publicist will create with you, in order to get people talking about your book). Obviously, the bigger the name, the more helpful it is. But be aware that you really should only list people you are fairly certain will participate. Every editor is tired of seeing names like Billy Graham and Rick Warren, only to find out the author "intends to contact them and ask for an endorsement." A "contacts" list is just that -- a list of people you are already in contact with.

Karen wrote and asked, "What can you tell me about audio books? My publisher isn't interested in producing my books in audio, though they sell well in print. Is there a way to do that on my own?"

The reason your publisher isn't very interested? Money. There's just not much money to make with most audio books. Most of the New York houses will tell you that the audio book of a bestseller will only sell about 10% of what it sells in print. (So a book that moved 60,000 copies in hardcover will only sell 6000 in audio.) That's pretty skinny, especially when you consider that it's not like most sub-rights. If your publisher sells sub-rights for your book to a book club, or serial rights to a magazine, or excerpt rights for a gift book, all they have to do is send an electronic file. There's no real "production" cost to the publisher. But an audio book means they've got to rent a studio, pay an engineer, have an editor work on a shortened script, and possibly hire an actor to read the lines (unless the author agrees to do it himself, in which case the publisher has to pay plane fare, hotel, and meals). All of that means your publisher is investing dollars, and the pay-off generally isn't very good. For books that don't hit the bestseller lists, chances are the publisher will lose money.

An alternative is to do it yourself -- keep the rights, create your own scripts, talk with a local radio station about renting you an empty studio on a weekend at a steep discount, and pay their board-op $50 to record it. But then you've got to produce it ($1 per CD, plus $1 per case and label), store it, ship it, and, above all, SELL it. Most self-published projects lose money because the person who created the produce doesn't know how to sell it. If you don't know how to sell audio books, I'd encourage you to take a careful look at your business plan before jumping in.

Jim wrote to ask, "When do most editors draw the literary line on alliteration? Two words? Three? Four?"

A cool question, compadre. Every engaging editor eschews everyday alliteration. (Is this making you sick yet? It ought to.) Alliteration is out. It's considered too cutesy, or too lazy perhaps. My response would be "two words." If you disagree, feel free to leave a comment.

More questions to come!

Comments

[Timothy Fish]

Terry Whalin recently mentioned on his blog that “for fiction authors, it is your nonfiction topic which you are going to be talking about in your interviews with the media and to promote the book.” (http://terrywhalin.blogspot.com/2007/11/one-in-millions.html) He mentions that by writing a book the author has become an expert on some subject, other than the story, that interests people. It is much easier for someone like Oprah or a radio talk show host to talk about domestic violence than it is to talk about why a character married Mark instead of Rob. In looking at marketing my own work, I am anxious to see the difference in interest between my first novel, which is a fun story but is weak in terms of the nonfiction topic, and my second novel, which is more serious but has a very strong nonfiction topic, in that it deals with the subjects of knowing the will of God and reaching our friends and family for the Lord.

[Ashley Weis]

I definitely agree. Alliteration should be kept to two words, if any. Naturally, I don't use alliteration, it seems too, well, "cutesy." Like you said.

And Timothy, I agree with you 100%. I think that's why authors should write about something they are passionate about, and educated in.

[sally apokedak]

I can't believe you said alliteration is out.

Who made you the alliteration sheriff of the house?

Sheesh! What's next to fall? Anaphora? Onomatopoeia?

Alas and Alack! You need to get out more.

Sign me,
Alarmed in Albuquerque.

[Cheryl Barker]

I agree that it's not a good idea to go overboard with alliteration, but I think it can still be effective without being too cutesy. I think it makes our prose more poetic and pleasing to the ear and heart.

[Tanya]

Since the proposals were mentioned here, let me add my "thank you" to the list. Your sample proposals offer excellent guides.

In regards to the alliteration, again, THANK YOU. I constantly highlight this problem when editing others' work. It grates. My disclaimer: "Maybe it only annoys me because I'm dyslexic ..." But I'm glad to know I'm not the only annoyed one.

By the way, your blog is great. I've been reading it for a while. Very helpful. Thank you!

[Danica/Dream]

*sigh* Goodbye to my beloved alliteration. I love it almost as much as onomatopoeia, which is much harder. But since so many folks, including Master Chip, don't love alliteration like I do, it'll have to go. *sigh* I'll always have the memory of my eighth grade English teacher telling me I use alliteration well. *sigh*

Thus endeth one of the great love affairs of my life.

Um, is there a twelve-step program for that? I may need it.

[Cheryl Russell]

"So instead of focusing on the story, most fiction writers find they have to focus on the author or the genre. In other words, you and your voice becomes the focus of your marketing. This is why it's essential that a novelist has a clear style."

This is a major clarifier for me. Thanks much.